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This week: The Paradox of Painful Art Edited by: Kit  
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The paradox of painful art highlights the fact that in art, we seek out what we would normally avoid. We wouldn't normally welcome things that make us upset, or frightened, or uncomfortable, and yet we reach for tragic novels and willingly watch scary movies.
This week's Drama Newsletter explores this paradox. How would you solve it?
kittiara |
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I'm one of those weird people who studies philosophy. As a daydreamer, and someone who's always wondered about strange questions that there aren't really any answers to, it's quite a good fit. A topic that came up recently was the paradox of painful art, and I couldn't resist writing about it here (sorry  ).
The paradox of painful art goes something like this – rational people seek out things that give them pleasure, not pain. Painful art gives people pain, not pleasure. Yet, plenty of rational people seek out painful art. If these three statements are true, it leads to a contradiction. It's a contradiction that has puzzled philosophers for more than 2000 years. Why do we read novels, or watch plays and movies that make us cry, or frightened, or uncomfortable, when we would normally do our best to avoid situations that trigger these emotions?
Plato's solution to the paradox was that people aren't rational. Others reckoned that what people feel when reading or watching painful art is not really pain, but something like pain, and it can seem to the person experiencing it that it is true pain that they're feeling. This leads to more questions than it answers. David Hume acknowledged that painful art can trigger painful or negative emotions in people, but he thought that under the right conditions, this pain gets converted into pleasure, which makes reading a tragic novel, or watching a tragic play a worthwhile experience for a rational person to pursue.
Hume's first condition for successful painful art – art worth pursuing – was that the art should be skilfully crafted. Such art captures an audience and whilst they may reach for a box of tissues, the book, or play, or movie is so beautiful that they are glad to experience deep emotions and, indeed, would be disappointed if they didn't. His second condition, then, is that the piece of art should stir people's emotions. A piece that is boring won't entertain. If the combination is successful, pain can be present, but it will become subordinate to the delight inspired by the artwork's beauty, and even give force to this delight.
There are limits to this, of course. Some artworks stir too many negative emotions for any enjoyment to be possible. Or so Hume thought. Which is one reason why his theory doesn't offer a full solution for the paradox of painful art – whilst, like him, I don't enjoy gore, there are plenty of people who do. Also, his solution does not solve the question why there are people whose pain does not convert into pleasure when reading Anna Karenina or watching King Lear, no matter how skilfully written the novel, or expertly performed the play.
I lean towards aesthetic cognitivism, although I feel that that theory, too, is lacking somewhat in its explanation. According to aesthetic cognitivism we seek out painful art because we can learn from it, and therefore improve our general understanding. The price of sadness, or fear, or discomfort is worth paying. I think that it's true that the painful arts teach people something about themselves, and what it is to be human, and sometimes these lessons are unpleasant. Beyond that, though, I think that they can fulfill some deep-seated human needs. What this need is depends on the person pursuing a piece of painful art, and what needs can be fulfilled depends on the piece of painful art. Every person has their own personal experience within the limits of the piece, though people's experiences can overlap.
It is not unknown for a person who is suffering after the break-up of a relationship to listen to tragic love songs. To that person, it can appear that the artist has shared their pain, knows what it is like, and this brings comfort and reassurance that the pain will eventually pass. It can also help trigger a release of emotions, after which the healing can begin. A person who finds human society one of injustice, might have a need to see justice done on the screen – when the hero or heroine wins and the villain is captured or even, in some cases, meets a gruesome end, there is a sense of reassurance and satisfaction. Victims of horrific crimes may find reassurance that they are not alone when reading similar accounts. Others might indeed seek to understand what they have not themselves experienced. When in an environment such as a cinema, or when snuggled up with a book, there is a sense of safety, and a knowledge that it is not real, that one can abandon the experience at any time, which can make it more likely for a person to learn lessons and have experiences that they would never willingly participate in outside of the narrative arts.
So, what about you? How would you solve the paradox?
kittiara
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The Drama Newsletter team welcomes any and all questions, suggestions, thoughts and feedback, so please don't hesitate to write in! 
Quick-Quill  - Wind Chill Factor and sequel The Cavanaugh Quest byThomas Gifford. Is a great book. The story is about secrets.
I love John Grisham's movies. A Time to kill and The confession are written the same way. As you read your mind judges the character, but that changes. As you read, your view changes. You fight to keep your sense of right and wrong in line. JG forces you to accept life isn't always about a clear set of rules. Sometimes you have to let go of your judgment and sentencing self for real life situations where people lies on the stand or to each other. Are there consequences?
Thanks for the recommendation! I will check them out . And aye, it is interesting, that conflict with one's internal judge of what is right and what is wrong, which we usually find pretty straightforward, but that isn't always the case. Humans are complex, life is complex. And there are always consequences.
~~~
Wishing you a week filled with inspiration,
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Drama: November 19, 2014 Issue [#6672]
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